Category: 2021

  • Single Family Home– by Cathy Cruise

    Single Family Home– by Cathy Cruise

    “Everything falls apart eventually.” His words are a car on a hill, climbing gradually, curving at the top, racing down to dismal nothing. “What else is there to say?” The skin along his jaw quivers as he shrugs.

    The bearded counselor looks at me as if I should know. But a dome has sealed itself about the room. If I say anything, the words will sound muffled, unable to break through to the outside. I rub the polished arms of the chair as the air conditioning kicks on, blasting cold across my shoulders, and listen to its hum.

    Forty-five percent of marriages end in divorce. Men and women remarry, on average, three years later.

    Statistics, I suppose, are comforting. Why else would the counselor rattle them off so serenely before we stand and shake his hand a last time?

    Silence on the ride home. Because the dome has engulfed us here too in the small car, the once happy car, the Hyundai Sunday Funday car, he called it when it was new, and we took the children out for drives. He always hums when he drives. He hums everywhere. But not on this ride home from the end of our marriage, in this now, as it turns out, piece of shit car with oil leaks and faulty tire pressure sensor.

    He turns on the radio, to the oldies station. “Wichita Lineman” is playing. A sappy song, I’d always thought, but now I know I’ve never listened before. A lineman hearing his lost love singing in a phone wire. It is the saddest song I’ve ever heard. 

    At home, drawers emptied, folded shirts and pants stacked on his half of the bed so there’s no question where he’ll sleep tonight. In the morning, thermos of coffee and a question when he walks into the kitchen. Am I okay? I take thermos and keys outdoors, to my blue Honda with realtor magnets on the sides, hatch already filled with suitcases, enough clothes and shampoo to last a few weeks. One day when he’s at work I’ll gather the rest. Somehow, I know how he’s standing there on the porch, hand raised in a wave, even though I’m staring straight into the rearview mirror as I back onto the street.

    At the end of a long drive lined with silver maples, just outside of town, stands the secluded white house with green shutters. My new listing: five-bedroom, four-bath colonial. The owners live up north and won’t return until end of June. I park around back, open the lockbox, and let myself in.

    Houses hold on to time. This one has stood vacant only a few weeks, but smells of heat, of dust from the sparse furnishings left by previous renters. I bring my things inside, adjust the AC, pour a glass of wine, and head out back. I ease down to the side of the pool and slide my feet in the cool water, the sun’s warmth gripping my shoulders. 

    Seventy-five percent of marriages that began as an affair end in divorce.

    A parting shot, speared toward us on our way out the door. Yes, we’d both left previous spouses for each other. But we’d lasted these ten years, parented two sets of kids to adulthood. Wasn’t that validation enough that what we’d done was right? True?

    But then here we are, ten years of overstepping, resentments, misdirections behind us, so maybe not. Blending is hard—a road trip split in two—his family in one car, mine in the other, cheerfully waving across the dotted line, but struggling to keep pace. Always knowing that once the children were gone, we’d travel together. But once they were gone, it turned out, the journey was over. 

    Ringing phone again, which I answer finally because my sister has called all last night and today. 

    “I was about to call the cops,” she says. “Are you okay?”

    My jaw needs to loosen before I can respond, and I’m aware that it’s been ages since I’ve spoken. I wet my lips. “I’m fine.” 

    “Where are you?”

    “Mom’s.”

    “I just talked to mom. Why are you lying? Are you with a guy?”

    I cough out a chuckle. Should I be happy I can laugh? No, because it’s more like a strangled clearing. “I meant I’m heading to mom’s. When I check out.” 

    I swirl my hand through the blue water, heavy with chlorine smell. 

    “Come stay with us. There’s the sofa bed in the basement.”

    “I’m fine.”

    I say it again after we hang up, again while I shower and settle onto the couch for the night (I may lie and trespass, but I won’t occupy a stranger’s bed). “I’m fine,” I whisper to the shadows, to the moonlight falling across the thin blanket. 

    If yesterday hadn’t happened, if he’d never said how everything falls apart eventually, I’d be hearing him now—showering, brushing his teeth, humming all the while. I used to think his aimless tunes were meant for me, but now I understand it was only habit, something to do while puttering about the house, working in the yard, driving. 

    Sleep, then a vivid, barren dream. I’m somewhere out west, high above yellow desert split by gray highway, as far as I can see. I breathe fresh air at last, but it’s like breathing mist, and anyway there’s a job to do, trouble on the line, and I have no clue how to fix it. I stare into a metal box of wires, try to trace a coil from one point to the next, but I lose it in the mass of cords, and everything falls apart eventually anyway. High above rocky slopes, road below framed in phone lines, shimmering with heat, his voice is the only sound. He’s humming, there in the wire. But not to me. To everyone, to no one at all. 


    Cathy Cruise is the author of the novel A Hundred Weddings, and short stories that have appeared in journals like American FictionAppalachian Heritage, Pithead Chapel, Vestal Review, Michigan Quarterly Reviewand others. She has a master’s in writing and a bachelor’s in English and has received a few writing awards you’ve likely not heard of. When she’s not busy with freelance writing and editing, working on her second novel, or walking her dogs, she can be found reading, begging her kids to play Rummikub, and watching far too much TikTok. You can visit her online at www.cathycruise.com.


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  • Story in Blank Space #1–by Kris Broughton

    Story in Blank Space #1–by Kris Broughton





    (the writer asserts that the empty space above represents all the stories of the known universe. He recommends that you stare at the blank white space for at least five minutes to see this particular story in its entirety.)

    (If you are having trouble discerning where one story ends and another begins, the writer suggests that instead of trying to interpret this particular story through reading it one word at a time, you should concentrate instead on the physicality of the story, taking the requisite information about plot and characterization and theme from the amount of space this particular body of words displaces.)   

    (If you are trying to read this while an annoying, undersized dog is barking at you, you have the writer’s sympathies, as he was similarly aggravated by a diminutive, deballed mongrel of mostly Chihuahua origin during the creation of this piece.)

    (By the end of the second minute of staring, you should begin to get a picture in your mind’s eye of the main character. You are not surprised to find that he is an anti-hero, inasmuch as this particular story is on the cutting edge of being an anti-narrative. You are also not surprised to find that the protagonist, in a vague way, resembles the you of yesteryear – a slimmer version of you who has more hair and whiter teeth, with a morose disposition you do not recall. The only surprise, if you are not African American, is that this you is black.)

    (Just when your eyes begin to tire of focusing on these few square inches of blank screen, the story you have been waiting for appears in your mind. You have chosen to begin in the middle, as you are not overly fond of settings, mood, or tempo. This brown skinned character who resembles you is enmeshed in an imbroglio between his lover, who represents societal propriety, and his secretary, who represents individual desire. After three minutes of staring at a blank screen, this business of your likeness being black is no longer perturbing. In fact, it sparks possibilities in your mind. You wonder if this character’s jump shot is better than the one you have in real life.  To be more accurate, the one you used to have – in real life, you haven’t played basketball in ten years.)

    (This is not the life you would have imagined for yourself if you were black. The protagonist has a doctorate in appliquéd physics. His lover has a doctorate in voodoo economics. The scene you have entered in progress shows our anti-hero and his paramour standing on the balcony of his loft apartment, eating canapés of fish flavored tofu and sipping white wine spritzers. Dr. Voodoo has convinced herself that our protagonist is involved with his secretary. Dr. Appliqué is stuffing his mouth full of tofu canapés, in hopes that he will not have to talk to Dr.Voodoo about his voluptuous secretary, Pogo Tatuopo.)

    (This is not what you expected from characters who look like this. Dr. Appliqué’s eyes, you feel, should hint at a well of violence, at a past filled with pain and suffering and self-loathing instead of radiating the self-satisfied gleam of the intellectually well-endowed. Dr. Voodoo should be angry and aggressive instead of confused and disappointed. Now Pogo’s broad South Pacific Islander cheekbones come into focus. The blouse she is wearing is unbuttoned to her breastbone. When you see the lush curve of Pogo’s hips, there is no question of Dr. Appliqué’s guilt or innocence – only how many times it has happened. As the action within the story begins to rise, you close your eyes, because the protagonist is an anti-hero, and it is pretty obvious to you where this story is headed. You begin to feel faintly ridiculous at having spent so much time staring at a blank space.

    Your shift to anger is sudden, swift – you would murder the writer if you could get your hands on him for wasting your time! Then you blink your eyes and all of a sudden the blank space seems larger. The whiteness of it seems to be fluid, as if you are staring into the top of a freshly opened can of Chantilly Lace housepaint. Wait! Is this the same story you have been staring at? The same protagonist you have been watching? He can’t be…you didn’t expect him to…holy shit!)

    (Although you have not forgiven the writer, the story has improved immensely – that is to say, the direction in which the story is headed is not what you would have expected. What is utterly amazing, moreover, is that the writer has been able to capture your imagination so vividly with two Black PhD’s, a tray of fish flavored tofu canapés, and a woman named Pogo. The recommended five-minute viewing time is almost upon you, but the tale has become so engrossing, you are tempted to try to go back to the beginning to see how this all started.)


    Kris Broughton has had stories published in Carve, Exquisite Corpse, 3AM Magazine and Eclectica. Kris lives in John’s Creek, Georgia, where he toils ceaselessly in the IT industry as a channel sales professional. Kris is at work on a contemporary novel about Black men.


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  • Mel in Her Element–by Phoebe Brueckner

    Mel in Her Element–by Phoebe Brueckner

    Mel went down to the docks alone and hired a fishing boat, took it out all by herself. She brought with her a plentiful supply of fresh water, not knowing how long she’d be out. Given her track record, she figured it might be a while. She sat on the boat with the fishing pole in hand, staying hydrated, watching the sun dance on the sea’s glassy calm. It was so quiet out there on the water, peace and awe flooding in around her. It would be nice to be able to share it, to turn to her love and say, “Pass me the crackers?” 

    By late morning she was sweating in the hot, hot sun, but she’d brought a wide-brimmed hat and sunscreen, and she knew to drink water consistently. When she had to pee she went in a bucket, then dumped it into the sea. But by midday she was dangling over the side of the boat to pee in the ocean just like the fish themselves, enjoying the liquid movements all around her. In the late afternoon, Mel cracked open a cold seltzer and cast her line, yet again—and shortly after that felt a sharp tug. 

    She reeled it in, nearly breathless, heart thumping as the fish hit the floor of the boat. It was a good-sized, good-looking fish, but it was flopping so violently back and forth, desperate for air, and freeing the hook from its lip was a struggle.

     “I can’t breathe,” said the fish, “I can’t breathe.” And Mel knew then that he wasn’t the one for her, so she threw him back into the sea. He darted into the depths straight away, and she wiped blood and scales from her hands. She hoped his lip would heal quickly. She felt terrible about having hurt him. It was selfish of her, she saw that now, to reel him in just because she felt ready for love.

    She stood looking at the water for a while, hands on hips, her fishing pole kicked into the corner of the boat. Then she lay down on her back, put the wide-brimmed hat across her face, and let the waves rock her so gently. Far below, she could tell what was happening. She could sense schools of fish rushing by, flicking light back and forth with their bodies’ quick movements; she could sense all the sharks getting ready to cruise. She could feel herself swimming with all of them, encased always in liquid and breathing in a magical way. But the thing our dear Mel thought to hope for was rain.


    Phoebe Brueckner is based in the San Francisco Bay Area. Her short fiction has been published in Flash Fiction Magazine, Boston Literary Magazine, and Jet Fuel Review.


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